Evidences and Reflections of an Artist

Gianlorenzo Bernini (1598-1610) was more(prenominal) than the greatest inscribeor of the Baroque period. He was besides an architect, puma, playwright, composer and theater designer. A brilliant wit and caricaturist, he wrote inducedies and operas when not sculpture marbles as easily as clay. More than any opposite artist, with his normal foundations, religious art, and designs for St. Peters, he left his mark on the face of Rome (Strickland and Boswell, 1992). The Ecstasy of St. Theresa and Apollo and Daphne are evidences of Berninis outstanding skills.Berninis marble sculpture, The Ecstasy of St. Theresa, represented the saint swooning on a cloud with an expression of mingled ecstasy and exhaustion on her face. Since the Counter rehabilitation Church stressed the value of its members reliving Christs passion, Bernini tried to induce an intense religious experience in worshipers (Strickland and Boswell, 1992). On the some other hand, few works in the history of sculpture are more admired for the sheer skill of their carving than Berninis Apollo and Daphne.Bernini began the Apollo and Daphne in 1622 and had generally completed it by 1624, the last year of his employment with Cardinal Scipione Borghese. The Apollo and Daphne has come to stand as the perfect antithesis to the ultramodernist principle of truth to materials, the ultimate model of the artist defying his mediums very nature (Sofaer, 2007). For both works, Bernini apply all the resources of operatic stagecraft, creating a total artistic environment (Strickland and Boswell, 1992). cosmos able to observe Berninis extraordinary skills in art is a truly noteworthy and significant experience.Just watching his works through the ikon made me feel the ecstasy, the pursuit and the make do contained within those works. Somehow, it makes me want to sculpt a masterpiece of my own, reflecting my own skill and my own knowledge. Michaelangelo Merisi da Caravaggios (1571-1610) genius resided in his ability to overlay one principle upon another, to drag in aesthetic boundaries seamlessly while seldom calling attention to the means by which he did so. Moreover, even when he was painting the human figure, Caravaggio was a still-life painter at heart.Caravaggios Basket of Fruit has been dated by modern scholars to the years 1593 to 1600, with most placing it closer to the end than the beginning of the outgrowth class of his career. If indeed datable to the moment of his emergence as a public painter in the Contarelli Chapel, the little picture was not one of the graphic depictions of flowers and fruit. Coming at a critical juncture in his professional career, one can imagine the Basket of Fruit component as a polemical expression of his ideas on the nature of creative thinking itself.In this work, he blended the lowly method of Ligozzis mimetic and didactical illustrations with higher-minded emulations of ancient literary and visual sources, prompted perhaps by his awareness of the present-day(prenominal) fashion for Northern still-life painting among collectors like Del Monte himself (Varriano, 2006). In the first Roman years, Caravaggio was isolated. He was rushed to hospital for a malaria attack, as witnessed in the famous self-portrait Sick Bacchus in the Galleria Borghese (Pomella, 2004). The Sick Bacchus is a hypothesis on the theme of loves sting, that is, on the woes of love gone awry.During the Baroque, the awareness of point of view led, for the first time in Western history, to something which can be considered today as self-reflection, a uneasiness of the human individual (Bal, 1999). Studying The Incredulity of Saint Thomas, likewise known as Doubting Thomas, it may come as no surprise to learn that Caravaggio failed to win the commission to paint a resurrection for the Jesuits. By the time he had completed this painting, Caravaggios notion of a religious image had already worried Counter-Reformation churchmen.His reputation for paintin g in a style which has neither sacred, nor profane, exactly a hybrid of the two, had attracted nauseous commentary among potential ecclesiastical patrons. In this respect, the Incredulity of St. Thomas energy almost be read as gauntlet thrown in the face of counter-reformation orthodoxy. This works is an evidence for Caravaggios decision to explore the important mystery of the Christian faith, the incarnation and the resurrection, with what might, tendentiously, be termed an almost Protestant literal-mindedness (Porter, 1997).To be able to understand the personality of Caravaggio through his works, as observed from the video, is an red-letter occurrence for me. It had shown me that sometimes, there are certain things which artists have to do that defies the golf club and still, defines them as a whole individual or as a skilled artist. It also made me understand that most of the time, the paintings or artworks do not simply show particular sceneries or another model, but refle cts the skills, personality and visions of the creator itself. References Bal, M. (1999). Quoting Caravaggio Contemporary ruse, Preposterous History.Chicago The University of Chicago Press. Pomella, A. (2004). Caravaggio Art Courses. ATS Italia Editrice. Porter, R. (1997). rewrite the Self Histories from the Renaissance to the Present. New York Routledge. Sofaer, J. (2007). Material Identities. Australia Blackwell Publishing Ltd. Strickland, C. and J. Boswell. (1992). The Annotated Mona Lisa A fall Course in Art History from Prehistoric to Post-modern. Missouri Andrews McMeel Publishing. Varriano, J. (2006). Caravaggio The Art of Realism. Pennsylvania The Pennsylvania State University Press.